Alchemical Processes

alchemical processesThe second concert in this year’s West End Micro Music Festival took place at Redeemer Lutheran Church on Friday night.  Titled Alchemical Processes it featured a mix of early and modern works written or arranged for some combination of string quartet (Jennifer Murphy, Madlen Breckbill – violins, Laila Zakzook – viola, Philip Bergman – cello), harpsichord (Alexander Malikov) and clarinet or bass clarinet (Brad Cherwin).

It started out with Bach’s Concerto in A Major BWV 1055 arranged for string quartet, harpsichord and clarinet.  It was enjoyable.  Originally written for harpsichord and string orchestra, any loss of richness in the strings by only having one player on a part was compensated by the additional colours of the clarinet.

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dreams-bend

dreamsbendTo the intimate (i.e. tiny) Array Space last night for a concert by the Happenstancers who, in this iteration, consisted of Brad Cherwin – clarinet, Madlen Breckbill – viola and Micah Behr – piano. and, in the first number, viola.

Part 1 of the programme was called Dream Images and was intended to evoke the discontinuous and illogical.  It began with Du Yun’s dreams-bend for taped speech, two violas and clarinet as a sort of intro to the main event.  This consisted of Schumann’s Fairy Tale Narrations and Kurtág’s Hommage à R. Schumann; these being two of the very few works for clarinet, viola and piano.  Added to these was a new work; Abstractions by Nahre Sol.  The pieces were played with the movements in the right order but with the composers mixed up so, for example, the first four movements went Kurtág, Sol, Schumann, Kurtág and so on.  I like this approach.  The styles contrast.  The Kurtág is spikey and dissonant, the Schumann structured and Romantic and the Sol playful, tonal (mostly) and rhythmically varied.  Listening to them interspersed somehow focusses attention on their particular qualities and has a kind of focus that the conventional way of doing things doesn’t.

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Morphology of Desire

To Mazzoleni Hall yesterday to hear Christina Campsall’s graduating recital.  I think over the course of the year she has become my “top tip” for this year’s graduating class at the Conservatory and nothing that happened yesterday did anything to shake that judgement. It was a pretty intense program that was definitely more shade than light but that, I think, rather suits her voice.  The opening set, Mahler’s Rückert Lieder, was a case in point.  Dark, brooding texts, dark, brooding music and a dark, brooding voice with plenty of power.  We have a mezzo here not a second soprano!  That said, her high notes are all there and there seems to be plenty of power all through the registers, though to be fait I’ve only seen her once in a large hall and that was in operetta.  Very good German too with a distinct northern inflection.  All the consonants!

campsall

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